Writing for The Nation, Dustin Illingworth celebrates Malina, by the Austrian experimental novelist Ingeborg Bachmann, recently translated into English by Philip Boehm.
At Review 31, Jon Doyle reads Ruby Cowling’s short story collection This Paradise and tries to put his finger on Cowling’s aesthetic tendencies.
At her blog, Novel Readings, Rohan Maitzen has been taking a deep dive into the works of Virginia Woolf, most recently focusing on the “interesting failure” of Woolf’s final novel, The Years.
Jacqueline Leung takes a close look at Yoko Tawada’s dystopian novel The Emissary, translated by Margaret Mitsutani, and focuses on the ways in which a narrative about prolonged lifespans for elderly people allows Tawada to twist the Japanese language.
At 3 AM Magazine, Daniel Marc James tunes into the individual notes of the “nasal symphony” — a symphony of smells — in Jean-Baptiste del Amo’s Animalia, translated by Frank Wynne.
In the latest issue of the New Statesman, Anna Leszkiewicz surveys the boom in collections of personal essays by emerging writers in Ireland.
At the Sydney Review of Books, Ashley Kalagian Blunt reviews Fiona Wright’s new essay collection, The World Was Whole, with an eye towards Wright’s manipulation of the conventional essay form.
Agustín Fernández Mallo’s Nocilla Trilogy, translated by Thomas Bunstead, has recently been published in its entirety in the United States. In an essay at Full Stop, Mary Pappalardo has used the occasion to survey the scope of Mallo’s aesthetic project.
At 3 AM Magazine, Kyle Callert traces the line between truth and imagination — and, more problematically, the line between truth and the reconstruction of truth — in Gabriela Ybarra’s The Dinner Guest, translated by Natasha Wimmer.
In a new essay at Guernica, translated by Samuel Rutter, Valeria Luiselli calls attention to the novels of the Mexican writer Guadalupe Nettel, particularly her prize-winning After the Winter.
